Final Destination 5: Single Bill Mini Musings...

What's it about?
Fourth sequel in the long-running horror franchise where death uses devilishly inventive ways of picking off those who escape his deadly grasp. A bus load of young business folk are off on a team building weekend, but when one of their number forsees a disastrous bridge collapse, he and a handful of his colleagues escape their grisly fate ... for now.
Who would I recognise in it?
Emma Bell, Tony Todd, David Koechner, P.J. Byrne, Courtney B. Vance

Click "READ MORE" below to see if it's any good...

Hextuple Bill Mini (and Cine) Musings: Speed, Money, Sand, Aliens, Action, and Gore...

Fast Five:
The original movie was a pretty decent flick. I never bothered with the second or third movies, the fourth movie left me cold when the action wasn't punching, and the fifth ... well, it's actually bloody good fun. Realism is out the window in favour of big cars, big guys, and bigger action. Set in Rio, this fifth instalment brings practically every familiar face from the franchise into one huge spectacular - so characterisation, which was never a big issue in the franchise, is naturally surface-deep pretty much all the way through.

What does keep the movie bashing along at a bloody good whack though, is the action. Justin Lin clearly knows how to deliver plenty of bang for your buck, and in a movie where everything is ridiculously massive (including franchise newbie Dwayne Johnson who resembles a gun-toting mountain driving around in a glacier-sized uber 4x4) things get crazy in a big bad way. Seemingly inspired in-part by the Rio-set levels in Call of Duty: Modern Warfare 2 (a ballsy action extravaganza of a videogame), it's insanity from beginning to end with genuinely spiffing action which makes up for any drawbacks. Big, dumb fun defined.


Arthur:
The remake is upon us, weirdly at a time of financial restraint in the era of Deficit Reduction, so naturally the original with Dudley Moore was going to be trotted out. If it wasn't for Moore, who is a charmingly useless multi-multi-multi-millionaire-to-be old soak, it wouldn't be particularly interesting.


Prince of Persia: The Sands of Time:
In need of another Pirates of the Carribean (even though a fourth is on its way, no doubt ready to inspire two more sequels in-turn), Bruckheimer & Co make a big budget videogame adaptation starring Jake Gyllenhaal as a Persian Prince from the streets who gets mixed up with Gemma Arterton and a special dagger from the Gods which can turn back time. Clash of the Titans (2010) was complete and utter bollocks, a dreary old mess, but fortunately Sands of Time has decent action and a fairly decent script - notably in some nice banter between the two leads in the first half. It's no Pirates in terms of rogue charm and romp-factor, but it's not a total slouch either.


Dreamcatcher:
I do enjoy a Stephen King adaptation, even if the quality varies wildly, however this tale of four telepathic buddies getting mixed up in some alien invasion - that involves butt-born worms that inspire plenty of gas in their hosts - quickly rolls downhill from intriguing, to poorly realised. It feels off-kilter with a decidedly uneven tone and some underwhelming performances. I recall hearing pretty mixed reviews of it back when it originally came out, and now I know why. The Mist was far, far, far better.


Tango & Cash:
I'd never seen this slab of late-80s action until just the other day, and I don't know what's taken me so long. Aside from a couple of moments that are either too-comical or too-cheesy (cross-dressing, and a hokey bullet-proof van), it's a bloody good laugh - the humour and acerbic banter between Stallone and Russell being the key to the flick's charm. The style, fun, and good helping of explosive action help the movie sidestep any flaws along the way.


Saw VI:
The increasingly convoluted, nonsensical, and grusomely violent 'torture porn' (how I dislike that term) franchise hasn't been any good since part 3, but part 6 - which I've only just gotten around to - is easily the best out of parts 4, 5 and 6. There's a solid premise at the heart of the plot - revolving around the company that provided (and redacted) Jigsaw's health insurance. The opening is, however, weak - and a handful of side characters are annoyingly underwritten/just plain stupid - but it moves with a swift old pace and is, mercifully, not as pointless and incomprehensible as the previous two entries ... but it's still far removed from the low budget shocker that established an increasingly cliched and repetitive franchise. The first movie was actually bloody good, so it's a shame that this factory-line approach to the sequels has sullied the quality and importance of the original.

My most memorable movie viewing experiences #5...

Uni Years:

The Maltese Falcon (John Huston, 1941):
When – Autumn 2002
Where – Campus Screening Room
Why – My three years doing my degree in Film & Television Studies was a time when my eyes were opened to a whole host of films that I would have never watched beforehand, and one of the big new things for me was in the first semester of the first year on the Key Issues In Film Studies course when we had a print screening of the Bogart version of The Maltese Falcon. My mid-semester essay was to do with the style of the film, and I became a Bogart fan – consuming Casablanca (one of my all time favourite films, along with The Maltese Falcon), Key Largo, and The Big Sleep in quick succession in the following weeks – and as a result of this tale of Sam Spade, the 1940s has become one of my favourite periods of cinematic history.


Saving Private Ryan (Steven Spielberg, 1998):
When – Mid-2000s
Where – Off-Campus Bedroom
Why – While I’d already seen the movie a handful of times since not long after its original release, it was during the Lucas & Spielberg course that I came to do an essay on the opening Omaha Beach sequence – a shot-by-shot breakdown in fact, and when you consider how many shots there are in that first 25 minute sequence, it was an arduous task. Every few seconds I’d be pausing the DVD – sat there in my cramped 6ft by 8ft bedroom – and writing down exactly what was happening on screen and how it would fit into my analysis. I’ve rarely studied a sequence in that much detail, and as a result producing that essay has stuck in my mind ever since.


E.T. The Extra-Terrestrial (Steven Spielberg, 1982):
When – Mid-2000s
Where – Campus Screening Room
Why – Again during the Lucas & Spielberg course, one of the weeks focussed on E.T. – a film that I’d enjoyed as a kid, but for some reason had come to really quite dislike during my teenage years … I’m not entirely sure why, but I was so switched-off to the movie for some reason. Quite to my surprise then, was when we watched the movie together as a class, and I got totally invested in it. What’s more, it actually choked me up, and as a result my opinion of the movie (which had become bitter for no discernable reason) performed a total 180.


La Jetee (Chris Marker, 1962):
When – Mid-2000s
Where – Campus Screening Room
Why – During the Photography & The Arts course, on which I did an in-depth analysis of the visual language of Antonioni’s Blow-Up, a film which really struck me was La Jetee – the film which went on to inspire Twelve Monkeys. The music, the static visuals in their high contrast black and white brilliance, the dark and weird sci-fi plot – it all left a lasting impression.


Saw (James Wan, 2004):
When – 2004
Where – Off-Campus Bedroom
Why – It’s easy to forget now, as a result of annual sequels of diminishing quality, clarity and box office draw, that the original Saw was a grotesquely dark and brilliant indie horror flick that came like a bolt out of the blue. It was truly chilling in its approach to truly chilling subject matter; its violence was stunningly graphic (and not at all expected or old hat as what the sequels produced), and the big reveal at the end literally left my jaw slung low with shock – in fact that entire reveal, brilliant industrial score included (which still sends shivers down my spine to this day), haunted my mind for quite some time afterwards.


Duel (Steven Spielberg, 1971):
When – Mid-2000s
Where – Campus Seminar Room
Why – Less of a viewing of the movie, and more a group presentation of a theory regarding one particular sequence. Once again on the Lucas & Spielberg course, my group and I had drawn the latter’s stunningly gripping debut chase movie, and we proceeded to – jokingly – argue that the entire movie was an allegory for male rape. We argued (with the rest of the class in on the joke, but not the lecturer, whose Modus Operandi for reading movies consistently skewed towards more Freudian territory) that the great big brute of a truck was raping the effeminate little red car and that it was all to do with sexual dominance in the male species.

Now, there is an argument that can be made for such a reading, or part of such a reading – and we were half-serious about it – but it was this deliberate, joking escalation of the theory into perverse territory that has become one of my fondest memories of film school. In fact the lecturer rather liked our theory!


Napoleon Dynamite (Jared Hess, 2004):
When – Spring 2005
Where – Off-Campus Living Room
Why – During the spring semester of our final year at university, tensions and divisions were beginning to present themselves within our group of four in our off-campus house. Personally I found the final six months of university to be quite a stressful time for various reasons, and after a few blow-outs amongst the group, we needed something to regain the sense of fun and unity that had summed up the first two years of our time at uni.

That movie was Napoleon Dynamite and it was introduced to us all by one housemate who was quite taken with it. We sat down to watch it – a background tension in the air – and within twenty minutes we were all laughing uproariously at the quirky indie-com. The movie became the last big thing that we as a house were all about, and we watched it many times – practically quoting the script verbatim as it would play, and not even when we were watching it, just during a normal day. It was such a thing of the moment, for me at least, that I’ve not yet re-watched the movie since – only the odd moment here or there when it’s been on television – however, when I do, I’m sure it’ll take me vividly right back to those final weeks of university when everything got back on track in the house and we all got that sense of fun back.

The Walking Dead Episode Five "Wildfire" thoughts...

The penultimate episode of the first season of the AMC/Darabont/Hurd/Kirkman show The Walking Dead has been and gone, and blimey was it a great episode - indeed I'd say it's the best episode of the season outside of the pilot (unless the finale steals the win at the last minute - time shall tell on that matter).

The opening of the episode was superb, with Andrea swamped by her grief while everyone else in the camp knows what will have to be done - not only is this whole portion of the episode very dramatic and moving, but it's tense - "when will they turn", you wonder to yourself. Furthermore, when the expected finally occurs, it's a wonderfully played scene that plays the 'resurrecting as a zombie' angle, which we've seen so many times before, in a new and fascinating way. Similar to the dispatching of the 'bicycle zombie' from the first episode, the scene is full of pathos.

Speaking of pathos, Dale's moment with Andrea was nothing short of truly moving, and establishes the pair's relationship, which - in the comics - was already thoroughly on-the-go by the time Rick showed up at camp. So once again the television adaptation is taking things in a slightly new direction along the same path - and in a way that feels more real, and ultimately more satisfying as a viewer.

Meanwhile, dealing with the bodies left over from the night before, we're treated to yet more awesome gory treats from KNB Effects, who have continually shown throughout this season that they are (and have been for some time) the current masters of the macabre.

This adaptation has taken some significantly different turns along the already established path from the comic books, and I was wondering how this would play out (after last week's preview of this fifth episode), but I'm pleased to say that it's working really well. The intelligent group dynamic of the comics continues to be expressed in the show - a real treat in itself when you've seen countless zombie movies where idiots make even dumber decisions as a matter of course.

There was a chillingly good moment where the Rick/Shane dynamic's crumbling is illustrated in very clear terms. Again, in the comics it's much quicker to appear, and somewhat comes as a surprise, but throughout the show the key players have taken quality themes that were already established, and explored them in different ways that make for very satisfying viewing. The moment where Dale discovers Shane in a less than favourable position was pitch perfect, and further established Dale (as expertly played by Jeffrey DeMunn) as one of my favourite characters on the show.

Speaking of the characters, there are some great beats littered throughout - most notably in connection to Jim, who (in a way direct from the source material) has to come to terms with a troubling realisation. Indeed that entire portion of the show really signalled the sort of tough drama we'll be in store for when the second season rolls around.

It was good to see, or rather hear, a track from the soundtrack for Danny Boyle's Sunshine, a piece of music that has always given me chills - but considering the context in which it is used in this episode, it was doubly chilling.

Moving into the second half of the episode, the part that I was most concerned about for this episode (based on last week's preview of this episode), was all the stuff centering on the CDC (which was established in the first episode). This is a significant change of direction from the source material, but fortunately it works out very well indeed - to see the 'science of the dead' examined in very realistic terms (as further evidenced by the online preview scene from episode six, "TS-19") was very, very cool.

Finally, outside the CDC, the sight of Rick's impassioned desperation as he pleads with a CCTV camera above the sealed-off doors of the CDC complex, was absolutely fantastic - and importantly further suggests the sort of dramatic treats we'll have in store for us come season two (when you consider what takes place over the next couple of volumes of the trade paperbacks). To say that the cliffhanger ending left me wanting more - immediately - is an understatement.

Roll on episode six - the season finale!